The decision by Denis Villeneuve to split Frank Herbert’s seminal science fiction novel Dune into two distinct cinematic events has proven to be a masterstroke of hindsight, even if the execution resulted in a three-year wait that feels increasingly interminable in our era of instant gratification. While the hiatus was undoubtedly frustrating for impatient audiences, it allowed the director to critically evaluate the shortcomings of the first instalment and recalibrate his approach. The result is Dune: Part Two, a film that, at least nominally, represents a significant improvement over its predecessor, though it still suffers from the same corporate-calculated DNA that defined the franchise’s modern rebirth.
The plot of Part Two acts as a direct continuation of the first film, re-establishing the stakes immediately. We follow Paul Atreides (Timothee Chamelet), the son and heir of the slain Duke Leto, and his mother Lady Jessica (Rebecca Ferguson) as they flee into the vast, unforgiving desert of Arrakis. Finding refuge with the mysterious Fremen, Paul and Jessica are taken in by Stilgar (Javier Bardem) and his band of warriors. The narrative arc sees Paul initially participating in raids against the occupying Harkonnens, gradually shedding his sheltered noble upbringing to embrace a more violent, tactical existence. Lady Jessica, a member of the secretive Bene Gesserit order, plays a crucial role in securing the Fremen's allegiance. Leveraging their myths and prophecies, she cultivates the legend of the "Lisan-al-Gaib" or "Voice from the Outer World" to endear the tribe to her son. Her own authority is cemented when she undergoes the terrifying ritual of drinking the Water of Life, transforming into a Reverend Mother. This grants her and her unborn daughter not only prophetic visions but also the ability to see the future, adding a layer of mystique and manipulation to the power dynamics.
Meanwhile, the antagonist arc tightens as the Harkonnen regime fractures. Baron Vladimir Harkonnen (Stellan Skarsgård) is displeased with the incompetence of his nephew, Rabban (Dave Bautista), and instead grooms the charismatic yet psychopathic Feyd-Rautha (Austin Butler) for the succession. The arrival of the Padishah Emperor (Christopher Walken), brings the political intrigue to a boiling point. His daughter, Princess Irulan (Florence Pugh), becomes entangled in the dynastic machinations, representing the Emperor’s claim to Arrakis and the spice. The narrative tension culminates when Paul finally drinks the Water of Life himself, unlocking his full potential and commanding the loyalty of the Fremen. He is re-united with Gurney Halleck (Josh Brolin), who points toward a stash of atomic weapons, setting the stage for an audacious and decisive assault on Arrakeen, the Harkonnen stronghold.
The most glaring improvement in Dune: Part Two is its laser focus. The first film was burdened by the heavy lifting of general exposition and worldbuilding, which often felt like homework. Part Two benefits from that groundwork, allowing the story to concentrate on plot, character development, and visceral action. With nearly three hours of running time, Villeneuve has far more maneuverable space than David Lynch had in his 1984 adaptation, where the novel’s sprawling content appeared rushed and compressed. The pacing is consistent, allowing the political manoeuvring and the character arcs to breathe without feeling like they are competing for screen time.
The film excels most dramatically in its opening act, which delivers spectacular action set pieces that are both technically impressive and narratively efficient. We see Paul’s gradual metamorphosis from a hunted exile to a messianic leader, a journey that is visually and emotionally satisfying. The film also handles the romantic subplot with Chani (played by Zendaya) with a surprising degree of maturity; the relationship between her and Paul evolves naturally, grounded in shared trauma and a burgeoning connection, rather than relying on forced chemistry or awkward exposition.
However, Dune: Part Two could have been a grand classic, or at least a definitive masterpiece, had it avoided the director’s tendency to "jump the shark" by leaning too heavily on heavy-handed symbolism. The sequence set on Giedi Prime, where Feyd-Rautha stars in a gladiatorial combat tournament, is a particularly egregious misstep. The scene is rendered in stark black-and-white, featuring brutalist architecture and iconography that is clearly borrowed from Leni Riefenstahl’s Triumph of the Will. Villeneuve seems intent on making the Harkonnens the embodiment of 20th-century totalitarianism, specifically drawing parallels to the Nazis. While this is a recognisable visual language, it feels unnecessary. The Harkonnens are established as viscous, repulsive villains through their actions and the grotesquerie of their design; the director did not need to visually lecture the audience on fascism. In this context, the scene feels pretentious and overly on-the-nose, dragging the film’s momentum down a peg.
Thankfully, the film is rescued to a significant degree by the final duel between Paul and Feyd-Rautha. This sequence is stylish, kinetic, and far more effective than the Giedi Prime sequence. It allows Austin Butler, who has acquitted himself well as the film’s true villain, to showcase his range against Timothée Chalamet. The choreography and the visual presentation of the fight provide a thrilling conclusion to the villain's arc.
The ending, however, continues the pattern of the first film, lingering in that frustratingly cinematic cliffhanger territory. Paul, true to the novel, defeats the Harkonnens and the Emperor, assuming the throne and taking Irulan as his wife. Yet, the victory is bittersweet. He unleashes the "golden path" and initiates a grand holy war against those who might question his rule. Chani, disgusted by his political maneuvering and his decision to marry Irulan, leaves for the desert, leaving Paul alone with his prophetic visions. This sets the stage for the next chapter, Dune: Part Three, based on the darker Dune Messiah.
The cast additions in Part Two offer a mixed bag. Christopher Walken is arguably the most formidable presence in the ensemble, yet his role is so brief and glorified that it feels like a cameo, barely justifying his billing. Lea Seydoux, as the manipulative Bene Gesserit, struggles to make her character believable during her seduction scene with Feyd-Rautha, which comes across as awkward rather than alluring. On the flip side, Austin Butler delivers a compelling performance as Feyd-Rautha, making him a genuinely dangerous and charismatic opponent for the protagonist.
Ultimately, Dune: Part Two stands as a better film than Dune: Part One, but it remains a product of modern blockbuster conservatism. It is likely to be enjoyed and appreciated most by viewers unfamiliar with the 1984 Lynch version or the 2000 miniseries. Both the Lynch film, despite its flaws and limitations, and the television adaptation, with their distinct artistic imperfections, often look more impressive and have more soul than Villeneuve’s technically superb, but generally soulless rendition of Herbert’s classic. Part Two is a triumph of production design and visual language, but it lacks the artistic risk-taking that defined the original novel and its best screen predecessors.
RATING: 6/10 (++)
==
Blog in Croatian https://draxblog.com
Blog in English https://draxreview.wordpress.com/
InLeo blog @drax.leo
Substack https://draxster.substack.com/
InLeo: https://inleo.io/signup?referral=drax.leo
Leodex: https://leodex.io/?ref=drax
Hiveonboard: https://hiveonboard.com?ref=drax
Rising Star game: https://www.risingstargame.com?referrer=drax
1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e
BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG
ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7
BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9
